Show Your Pedalboards (Evo) Then

The Electro-Harmonix (EHX) Bass Clone came in today, and I freaking love it. After almost 10 years of searching, I finally found the chorus I've been hearing in my head. So out with the MXR Stereo Chorus, and in with the EHX Bass Clone. This also freed up another spot, so I put the Voodoo Lab Sparkle Drive back in there. After careful experimentation, I decided to place it second to last in the chain, right before the compressor. I'm not using it to get much grit. It's more like a preamp. It's definitely got some magic tone sauce about it.

307t73a.jpg


TC Polytune2 => EHX Nano POG => Boss LS-2 Line Selector

LS-2 Loop A: Big Game Bedlam Overdrive => Stomp Under Foot Civil Unrest Fuzz => EHX Enigma QBalls Envelope Filter

LS-2 Loop B: EHX Bass Clone

LS-2 output => Source Audio Orbital Modulator (switch A: envelope phaser; switch B: sine wave phaser) => Voodoo Lab Sparkle Drive => Markbass Compressore​
 
@Bassist4Eris are those polytuners so great? I see them on SO many pedalboards. Is it because of the size, or are they that accurate?
 
Bassist4Eris said:
The Electro-Harmonix (EHX) Bass Clone came in today, and I freaking love it. After almost 10 years of searching, I finally found the chorus I've been hearing in my head. So out with the MXR Stereo Chorus, and in with the EHX Bass Clone. This also freed up another spot, so I put the Voodoo Lab Sparkle Drive back in there. After careful experimentation, I decided to place it second to last in the chain, right before the compressor. I'm not using it to get much grit. It's more like a preamp. It's definitely got some magic tone sauce about it.

307t73a.jpg


TC Polytune2 => EHX Nano POG => Boss LS-2 Line Selector

LS-2 Loop A: Big Game Bedlam Overdrive => Stomp Under Foot Civil Unrest Fuzz => EHX Enigma QBalls Envelope Filter

LS-2 Loop B: EHX Bass Clone

LS-2 output => Source Audio Orbital Modulator (switch A: envelope phaser; switch B: sine wave phaser) => Voodoo Lab Sparkle Drive => Markbass Compressore​
Click to expand...
So is the LS 2 a powered version of an A/B switch, what are the advantages of it? It reminds s bit of my old Boss powersupply, noise gate pedal.
 
PaulS said:
@Bassist4Eris are those polytuners so great? I see them on SO many pedalboards. Is it because of the size, or are they that accurate?
Click to expand...

It's definitely accurate and stable, but no more so than any other quality tuner. I'd say the size is the main selling point; at least it was for me. It's also worth noting that despite the small size, the display is quite large and easily readable on stage, even in sunlight.

ectoflanger said:
So is the LS 2 a powered version of an A/B switch, what are the advantages of it?
Click to expand...

Sort of, but the functionality of the LS-2 goes much deeper.

A traditional A/B can take a single source (such as a bass) and send it to two different destinations (such as two different amps). Or you can reverse that, and use it to select between two sources, sending them to a single destination. Because I am sending a single source to a single destination, this won't work for me.

Instead, the LS-2 has two different sets of send/return jacks. Your signal enters the unit through the input, then goes out one of those sends, back to its corresponding return, and then goes to the output to continue on its merry way. In this fashion, I essentially have two different signal paths at the stomp of a foot:

Tuner => Octave => Distortion => Fuzz => Envelope Filter => Phaser => Overdrive => Compressor

Tuner => Octave => Chorus => Phaser => Overdrive => Compressor

As for why I do this, it's a long story, but it solves several compositional problems I had in my main band.

The LS-2 actually has other functions too. I use it in its most basic function of selecting between two loops. But it does other neat tricks too, such as blending the two loops in parallel. ​
 
It is disgustingly filthy, much like a Darkglass Duality., but with the plasma the attack and decay phases of a note sound like your amp is broken which makes it lesss tight and more playful to use. The Russian Pickle next to it is set to polished, Muse like bass fuzz. Two different beasts entirely.
 
DiMarco said:
It is disgustingly filthy, much like a Darkglass Duality., but with the plasma the attack and decay phases of a note sound like your amp is broken which makes it lesss tight and more playful to use. The Russian Pickle next to it is set to polished, Muse like bass fuzz. Two different beasts entirely.
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What about a Klon? Have you ever tried one? If so, are they overrated for the price?
 
No samples yet. I picked it up only yesterday and fiddled with it using my Stratocaster. Today I threw it onto my bass fxboard and played through it with my passive jazz and active Zon. It is a very distinct pedal which works great for bass since it has the blend control.
 
ectoflanger said:
What about a Klon? Have you ever tried one? If so, are they overrated for the price?
Click to expand...

I've never tried a Klon. My understanding is they lose lows on bass.

Electro-Harmonix just recently released a very affordable Klon-based overdrive called the Soul Food. There is also a Bass Soul Food. The keyboardist in my one band and the tenor sax player in the other both use the Soul Food, and they both give it rave reviews. I'm tempted to give the bass version a go, but right now I'm enjoying a second honeymoon with the Voodoo Lab Sparkle Drive (an Ibanez Tube Screamer-based overdrive).
 
Bassist4Eris said:
It's definitely accurate and stable, but no more so than any other quality tuner. I'd say the size is the main selling point; at least it was for me. It's also worth noting that despite the small size, the display is quite large and easily readable on stage, even in sunlight.



Sort of, but the functionality of the LS-2 goes much deeper.

A traditional A/B can take a single source (such as a bass) and send it to two different destinations (such as two different amps). Or you can reverse that, and use it to select between two sources, sending them to a single destination. Because I am sending a single source to a single destination, this won't work for me.

Instead, the LS-2 has two different sets of send/return jacks. Your signal enters the unit through the input, then goes out one of those sends, back to its corresponding return, and then goes to the output to continue on its merry way. In this fashion, I essentially have two different signal paths at the stomp of a foot:

Tuner => Octave => Distortion => Fuzz => Envelope Filter => Phaser => Overdrive => Compressor

Tuner => Octave => Chorus => Phaser => Overdrive => Compressor

As for why I do this, it's a long story, but it solves several compositional problems I had in my main band.

The LS-2 actually has other functions too. I use it in its most basic function of selecting between two loops. But it does other neat tricks too, such as blending the two loops in parallel. ​
Click to expand...

For the dim / help the aged

This means that you can't have the Envelope Filter running with the Phaser
But Envelope with Distortions yes?

Or one of those chains goes to Effects Loop of Amp the other into the front input?
 
Foal30 said:
This means that you can't have the Envelope Filter running with the Phaser
But Envelope with Distortions yes?
Click to expand...

Assuming you meant to type "chorus" rather than "phaser", then yes, you are correct.

But there's an exception here too. I can't run the Envelope Filter into the Chorus like in a traditional signal chain, but I can use them in parallel. This means the signal is split in two, one half gets the Filter, the other gets the Chorus, and then they are mixed back together. That's not the main way I use the LS-2, but it can do that too.
 
Here are the three real-world ways I use the LS-2:

1. Allowing me to switch instantly between a dirty tone and a clean chorused tone, which I like to use for dynamics.

2. Allowing me to switch on a dirt pedal plus the filter simultaneously. I do this by having the chorus turned off in the B loop, thus making the B loop a dry signal. Meanwhile, a dirt pedal plus the filter are on in the A loop. When I switch from B to A, it's like turning both pedals on simultaneously.

3. Allowing me to use the LS-2 to make 90% of the mid-song effect changes I need to make. So if I need to turn on a fuzz just in the bridge to a tune, rather than stomping directly on the fuzz pedal, I'll use the A loop for fuzz and the B loop for clean. Why? Simply muscle memory. If I know that most of the stomps I need to make are always in the lower-right corner of my board, I get confused less often on stage.

I've also been experimenting with the parallel processing described in my post above, although I use it to blend fuzz and chorus rather than filter and chorus. I've always hated the sound of chorus after fuzz, but by happy accident of this setup, I have found that I do like them processed in parallel. I got a pretty sick tone at my friend's house last night this way, using my Rickenbacker 4003 and playing with a pick.
 
I know I'm over-posting here, but what the heck. This is a sample of the blended tone I was just talking about. This was an improvised song, which is essentially how we like to write. It started terrible, and then got pretty interesting right around this point. I like the hook line my friend is singing about "don't call it a long shot" or something, and the bass riff is OK too. This is just a "guerilla recording" on a Tascam handheld recorder, but it gives you the idea.

This tone also has the POG giving me a bit of upper octave, because my buddy had smashed his finger putting in a new floor and couldn't play guitar.

Dropbox - Jam 2 excerpt 1 (05092019).mp3 - Simplify your life
 
Bassist4Eris said:
I know I'm over-posting here, but what the heck. This is a sample of the blended tone I was just talking about. This was an improvised song, which is essentially how we like to write. It started terrible, and then got pretty interesting right around this point. I like the hook line my friend is singing about "don't call it a long shot" or something, and the bass riff is OK too. This is just a "guerilla recording" on a Tascam handheld recorder, but it gives you the idea.

This tone also has the POG giving me a bit of upper octave, because my buddy had smashed his finger putting in a new floor and couldn't play guitar.

Dropbox - Jam 2 excerpt 1 (05092019).mp3 - Simplify your life
Click to expand...

I wouldn't be worried about over posting bro

Sometimes it takes me a wee while to grasp your posts. In fact sometimes my understanding may not actually be the crux of what your stating.

But that's the readers problem not yours

Specific to this thread currently I will have to go away and read over and listen to your posts because I don't grasp it
 
Bassist4Eris said:
I know I'm over-posting here, but what the heck. This is a sample of the blended tone I was just talking about. This was an improvised song, which is essentially how we like to write. It started terrible, and then got pretty interesting right around this point. I like the hook line my friend is singing about "don't call it a long shot" or something, and the bass riff is OK too. This is just a "guerilla recording" on a Tascam handheld recorder, but it gives you the idea.

This tone also has the POG giving me a bit of upper octave, because my buddy had smashed his finger putting in a new floor and couldn't play guitar.

Dropbox - Jam 2 excerpt 1 (05092019).mp3 - Simplify your life
Click to expand...
Foal30 said:
I wouldn't be worried about over posting bro

Sometimes it takes me a wee while to grasp your posts. In fact sometimes my understanding may not actually be the crux of what your stating.

But that's the readers problem not yours

Specific to this thread currently I will have to go away and read over and listen to your posts because I don't grasp it
Click to expand...

Agreed- post away. I believe we’re amongst friends-
 
After all I’m probably the Forum’s over-poster child- (or should that be Uber, but I’m afraid I’m one umlaut short:D)
 
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